“Deftly plotted and timely . . . Master thriller writing at its finest.”
“. . . plays with the notion of the afterlife.”
“It’s not the tragedies that kill us,” Dorothy Parker once noted. “It’s the messes. I can’t stand messes.”
“If the reader has not read the first book, he or she won’t have a clue what is going on . . .”
“Manu Joseph perfectly captures his characters in his precise, sharp prose.”
“Nearly 100 years after it first saw print, Krazy Kat is still incredibly funny.”
“Killing Geronimo is the best a graphic novel gets.”
Louder Than Words tells the story of a teenage girl who must uncover her past in order to pursue her future.
It would be maddeningly easy to begin my review of Herman Koch’s The Dinner like this:
“Norah McClintock has found a formula that works.”
“. . . a credible mystery plot, but without anyone to root for . . .”
“. . . pure shock and awe combined with blood and gore—even artistically presented . . .”
“There is no downside to a book like After the Fall and a rara avis it is.”
“Ms. Palmer makes her story work . . . moving it along at a fast clip.”
“Sarah MacLean has crafted a very funny, very sexy romp through mid 19th century England . . .”
“Ms. Santoro has crafted a book just as fascinating [as Junot Diaz’s This Is How You Lose Her], twice as stark, and simply unforgettable.”
“. . . a noteworthy debut.”
“. . . an excellent window into a complex and gifted author.”
There are questions inherent to the world of comics easily explained and often, thanks to the inventiveness of writers such as John Byrne, Jack Kirby, John Broome, and Steve Ditko, quite logical in
“. . . mysterious and engaging . . .”
“Tangled Web isn’t a terrible book, but it suffers from a split personality.”
“If you love the frustrated, quacking, crazed Donald from the cartoons of the forties, you have to read A Christmas for Shacktown.”
“. . . a decidedly New York book . . . well crafted for the most part and worth reading, despite its disappointing passages and missed opportunities.”
“Wyatt Burp Rides Again (The Adventures of Jo Schmo) definitely qualifies as a ‘best’ children’s book.”
“. . . a satisfying, savory dish that should be served alongside the best in contemporary multicultural fiction.”
“. . . written with unusual tenderness and grace. . . . Everybody’s damaged . . . and love is never as simple as chocolate or vanilla.”
